Price, 25 cents 




PUBLISHED BY 

The* Diuvr-LATic Pubi^ishing Compant 

CHAP.LES H SEB.GEL. . PRESIDENT 



Practical Instructions for 
Private Theatricals 

ByW. D.EMERSON 
Author of "A Country Eomance," ''The Unknown Eival," 
''Humble Pie," etc. 



Price, 25 cents 



Here is a practical hand-took, describing in detail all the 
accessories, properties, scenes and apparatus necessary for an 
amateur production. In addition to the descriptions in words, 
everything is clearly shown in the numerous pictures, more 
than one hundred being inserted in the book. No such usefvl 
book has ever been offered to the amateur players of an^v 
country. 

CONTENTS 

Chapter I. Introductory Eernarks. 

Chapter II. Stage, How to Make, etc. In drawing-roomd 
or parlors, with sliding or hinged doors. In a single large 
room. The Curtain; how to attach it, and raise it, etc. 

Chapter III. Arrangement of Scenery. How to hang it. 
Urapery, tormentors, wiugs, borders, drops. 

Chapter IV. Box Scenes. Center door pieces, plain wings, 
door wings, return pieces, etc. 

Chapter V. How to Light the Stage. Oil, gas and electric 
light. Footlights, Sidelights, Eeflectors. How to darken the 
stage, etc. 

Chapter VT. Stage Effects.: Wind, Eain, Thunder, Break- 
ing Glass, Falling Buildin^5, !Snow, Water, Waves, Cascades, 
Passing Trains, Lightning,, tITimes, Sound of Horses' Hoofs, 
Shots. 

Chapter VIT. Scene rr.inting. 

Chapter VIII. A Word to the Property Man. 

Chapter IX. To the Stage Manager. 

Chapter X. The Business Manager. 

Address Orders to 
THE DRAMATIC PUBLISHING COMPANY 

CHICAGO. ILLINOIS 



MY MEXICAN ROSE 



A PLAYLET IN ONE ACT 



BY 
KATHERINE KAVANAUGH 



CHICAGO 
THE DRAMATIC PUBLISHING COMPANY 






CAST OF CHARACTEES 

Senorita Carlota Valquez. 
Guadalupe, Carlota's duena. 
Jack Nesbit, an American. 
Luis Pascual, Carlo ta's cousin. 



Copyright, 1912, by the Dramatic Publishing Company, 
Plays about twenty minutes. 



©C1.D 3184'3 



f 



MY MEXICAN ROSE 

Scene. — Patio of the house of Senorita Valquez. In 
center of stage a small flower garden. Two steps R. leading 
off between 2nd and 3rd wings. A tahle and chair r. Bench 
or scat L. Loiv wall running across in rear, ivith gate in 
center. Arrange lights to throw late afternoon sunlight 
effect on garden. 

Curtain music: A Spanish air. 

At rise of curtain Carlota is discovered at gate. She is 
a girl of twenty years, wears a simple hecoming gown of 
ivhite, icith red rose in her hair behind left ear. Guada- 
lupe, an old Spanish ivoman, seated at table R. knitting 
lace.] 

[Carlota slightly changes her position at gate and softly 

sighs. ~] 

Guadalupe. [Looking up.] Santa Maria, Carlota Mio, 
is it ever to be sighs and tears ? Where hast all thy bright- 
ness flown? 

Carlota. [Comes slowly toward bench l. as she speals.] 
Guadalupe, do you recall how many days remain to me of 
freedom? [/St^s.] 

Guadalupe. But one, my little Carlota. Don Luis 
comes tomorrow to claim you as his bride. 

Carlota. Tomorrow is the day, but he will come ahead 
of time, you see. Something tells me he will be here today. 

Guadalupe. It was your father^s will that he be your 
husband on your twentieth birthday — if you had not found 
another before that time. 

Carlota. [Dreamily.] If I had not found another ! 
Guadalupe, did you ever hear of anyone falling in love 
with a person she did not know? 

Guadalupe. Santa Maria, how could that be? 

Carlota. Every day for the past week a man has 
stopped out there [Points toicard gate.] to v\"ater his horse. 
Sometimes he sings a bit of song, sometimes he speaks 

3 



4 MY MEXICAN ROSE 

kindly to his horse, and — and — sometimes he gazes up at 
the windows of this house. I have seen him through the 
lattice every day. [Guadalupe starts in dismay.] Ah, 
but he has not seen me. Guadalupe, I think I love that 
man. 

Guadalupe. [Raising lier hands in horror.] Saints 
in Heaven, hear her ! 

Carlota. Today when he stops to water his horse, I am 
going to speak to him. 

Guadalupe. No, no, Senorita ; that is impossible. You 
must not do it. 

Carlota. But I will. My cousin Luis comes tomorrow 
to claim me for his wife, according to the will of my 
father. I hate my cousin Luis. I will never be his wife. 

Guadalupe. Then your entire fortune — even this house 
— will become the property of Luis Pascual. 

Carlota. I do not care. Let the prop'erty go. I can 
be happy without it, but I could never be happy as Luis' 
wife. 

Jack. [Heard singing outside the gate. He sings in a 
careless manner, as if his mijid were more on attending to 
his horse.] Oh, it's all r-right in the sum-mertime, In the 
summer-time, it's 1-lovely — 

Carlota. [Starts to her feet.] Listen, 'tis he, my 
Americano. My guitar quick. 
[Guadalupe takes up guitar from tahle, gives it to Carlota, 

who returns to bench, and accompanying herself on 

the guitar, sings a few lines from a 

Spanish love song.] 

Jack. [Appears at gate.] I beg your pardon — may I 
have a cup of water. 

Carlota. Si, senior. Guadalupe. 
[Guadalupe places her knitting on table, goes off by way 

of steps n., waving her hands, and shaking her head.] 

Carlota. [Crosses to r., lays her guitar on table.] 
Won't you come in, Senor, and rest? 

Jack. [Enters. He wears picturesque riding suit.] 
Thanks. [Comes doivn l. c] Do you know I've been try- 
ing to get in here for a week? 

Carlota. Indeed, Senor? And why? 

Jack. You see — I've passed here often — in fact — well, 



MY MEXICAN ROSE 5 

to tell the truth I go several miles out of my way to pass 
here; you see — I — I admire the — the flowers so much. 

Carlota. And are there no other flowers in all Mexico, 
Sen or ? 

Jack. [Goes closer to lier.'] None like the ones that 
grow here. That's a pretty one you have in your hair. 
[Touching the rose.] So many Spanish girls wear a rose 
right there. Why? 

Carlota. Behind the left ear before they are engaged; 
behind the right ear afterward. 

Jack. Do you know, I think it would look much more 
effective behind the right ear. Let's change it. [Reaches 
for rose.] 

Carlota. [Drawing hacl\] Xo, no, Senor. I'm not 
engaged — yet. 

Jack. Please let me. 1 want to see how you'll look when 
you are engaged. 

Guadalupe. [Enters luith glass of tvater.] Your drink, 
Senor. 

Jack. Oh, yes; thanks. I forgot I was thirsty. [Takes 
glass and drinls, returns glass to Guadalupe. Exit Guada- 
lupe, R.] 

Carlota. I have observed you many times passing this 
way, Senor. 

Jack. Eeally? Well, I saw you for the first time a 
week ago, and I've been trying ever since to see you again. 

Carlota. But why, Senor ? 

Jack. [Close to her.] Don't you know? It was love 
at first sight with me, little girl. [Tries to take her hand.] 

Carlota. [Draws away.] Oh, no, Senor; I do not even 
know your name. 

Jack. It's Nesbit — Jack Xesbit, of Xew York. What's 
yours ? 

Carlota. Carlota Yalquez. 

Jack. That's a pretty name — but I think Carlota Xesbit 
sounds better. 

Carlota. I wonder if I dare to ask you one very great 
favor, Senor Xesbit? 

Jack. If you'll only call me Jack I'll be your slave for 
life. 

Carlota. You cannot mean that. 



6 MY MEXICAN ROSE 

Jack. I do, so help me. 

Carlota. Then listen, Senor Jack. I am going to take 
you at your word. First, I must ask you — oh, it is so terri- 
ble — I^m confused — I cannot — I blush, Senor. [Turns from 
him in confusion.} 

Jack. Do it again. No, no, I mean — don't mind me — 
ask anything. 

Carlota. [Turns to him.] Are you married, Senor? 

Jack. [Astonished.] No, I don't think so — no, no, I 
know I'm not ; in fact, I feel quite sure of it. 

Carlota. Oh, I'm so glad. You can stay here and be 
my husband. 

Jack. What ! Hush — if it's a dream don't wake me. 

Carlota. [Begins to laugh.'] Oh, it's so funny. 

Jack. Is it? 

Carlota. You do not understand. I have not ex- 
plained. You are to be my husband, but not really. 

Jack. Oh, then, I ain't going to play. [Pretends to 
pout.] 

Carlota. [Goes up behind liim, touches his arm.] Just 
make believe, you understand? You do not even kiss me. 

Jack. [Ihirns and tal-es tier hand.] Oh, no, I'm not 
that kind of a husband. 

Carlota. Only take my hand perhaps, so that he, Luis, 
will think it is real. But come, sit beside me ; we have much 
to arrange before he arrives. [Crosses to L. and sits on 
bench.] 

Jack. [Sits beside her.] He? Who's he? 

Carlota. I will tell you, and when you know all you 
won't go away and leave me, will you? 

Jack. Seventeen thousand horses couldn't drag me 
away. 

Carlota. Tomorrow, Senor Jack, is my birthday — my 
twentieth. 

Jack. Eeally? You don't look it. 

Carlota. Be serious. When my father died he willed 
that I might marry some one of my own choosing before 
that day arrived. If not, I was to marry my cousin, Luis 
Pascual, whom I hate. 

Jack. So do I. 



MY MEXICAN ROSE 7 

Carlota. If, being still unmarried, I refuse my cousin, 
he is to inherit all my property. I will be penniless. 

Jack. AVell, don't you care; I've got -plenty. [Kisses 
her hand.] 

Carlota. Be serious, Senor. 

Jack. Leave off that ''senor," and I will. 

Carlota. Jack, will you help me ? 

Jack. Only tell me what you want me to do? 

Carlota.. Today my cousin comes from Cortes. He 
will ask me to marry him. Oh, I have been beside myself 
all day, thinking of it. 

Jack. Now that I'm beside you, it's all right. 

Carlota. I knew — I hoped you would pass at this hour. 
When I heard your song, I answered. \our face, Senor, 
it is so good and honest. 

Jack. Is that the best you can say of it? 

Carlota. I thought that you would help me. 

Jack. Carlota, you are the most beautiful thing in the 
world when you look like that. I will do anything under 
the sun you ask of me. 

Carlota. When Luis comes, could we not pretend that 
we are married? 

Jack. Pretend nothing. We will be. W^here's the 
nearest Padre. [Is about to start off, reaches c. of stage. 

Carlota. [Rises, follows Jack to c, catches his hand. 
No, you must not leave me. He might come before you 
returned and that would spoil all. We will pretend until 
my cousin Luis has gone back to Cortes. 

Jack. All right, we'll pretend until he goes ; after that 
we'll look up the Padre. But don't forget to call me Jack. 
You had better start right away so you'll be in practice, 
don't you think so? 

Carlota. Yes, Jack. 

Jack. [Takes ring from his little finger.'] Here, we've 
got to have a ring. I never met a girl yet who would pre- 
tend aljout the ring. [Places ring on her finger, raises her 
hand and kisses it. Is about to draw her into his arms when 
Luis appears at gate.] 

Luis. [Calls in angry tone.] Carlota ! 

Carlota. Luis! [6'oes r. c] 

Jack. Oh, look who's here. [Goes l. c] 



8 MY MEXICAN ROSE 

Luis. [Comes dotvn c] Carlota, what does this mean? 
Have you lost all sense of modesty; are you quite aban- 
doned? [Turns to Jack.] As for you, Senor 

Jack. Well, what have you got up your sleeve for me? 

Luis. You are an Americano. 

Jack. Well, that's nothing to be ashamed of. 

Luis. You are not one of our people ; you do not under- 
stand the customs of our country. 

Jack. What's that got to do with the situation? 

Luis. Senorita Yalquez is my betrothed. 

Jack. You're mistaken, my friend ; this lady is my wife. 

Luis. What ! Carlota, can this be true ? 

Carlota. Senor Nesbit speaks the truth, Luis. 

Luis. So you have tricked me. You have brought me 
here on a fool's errand. 

Jack. Well, like a nice little fool, you can go back again. 

Luis. You are a scheming villain, Senor; you not only 
rob me of the woman of my choice, but you deprive me of 
the lands and property that should rightfully be mine. 

Jack. Ah, there's where the shoe pinches, eh ? 

Carlota. You forget yourself, Luis. By my father's 
will I could marry whom I chose before my twentieth birth- 
day. Senor Nesbit is the man of my choice, and the only 
one in the world I would have for my husband. This is 
my house ; my husband is master here. It were best for all 
of us if you would return at once to Cortes. 

Luis. So I am ordered back to where I came from, eh? 
So be it. I go, but I leave behind me my curses — may you 
both be 

Jack. [Raises his liand.l Don't say it, Pascual ; never 
swear in the presence of a lady. And you needn't ]eave any 
curses behind you — they wouldn't have any effect — see, I've 
got my fingers crossed. [Holds up hand.] 

Luis. [Goes quicl-hj to gate, turns and spealcs angrily.'] 
Adois, Carlota ; you will never see me again. [Exit.] 

Jack. That's pleasant news. [To Carlota.] Have you 
any regrets, Carlota? [Holds out his arms to her.] 

Carlota. [Comes to him.] None, Senor. 

Jack. Then let us turn this pleasant make-believe into 
a reality. 

Carlota. But it was to be only for today, Senor. 



3IY MEXICAN ROSE 9 

Jack. It is to be for all time, Carlota. I knew it the 
first day I saw yon. Can't you learn to care for me ? 

Carlota, [Turns from him.'] I'm afraid not, Senor. 

Jack. I'm sorry. AYhat's the reason? 

Carlota. [Slyly.] Because one cannot learn what one 
already knows. I care now, Jack. 

Jack. [Tal-es her in his arms.] You little sinner. 

Carlota. But that is not a pretty pet name ; can't you 
find a better one? 

Jack. Yes, I'll call von '^My Mexican Eose." 
CUETAIN 



Diamonds and Hearts 

A Comedy Drama in Three Acts 

By EFFIE W. KERRIMAN 

Price, 25 cents 

This play has "become one of the most popular in America. The 
good plot, the strong "heart" haterest, and the abundant comedy 
all combine to make a most excellent drama. "Bub" Barnes is a 
fine character of the Josh Whitcomb type, and his sister is a worthy 
companion "bit." Sammy is an excruciatingly funny little darkey. 
The other characters are good. Fine opportunity for introducing 
specialties. The play has so many good points that it never fails 
to be a success. 

CAST OF CHARACTERS 

BEr.NTCE HALSTEAD, a young lady of eighteen, with an affec- 
tion of the heart, a love for fun and hatred of arithmetic 

AMY HALSTEAD, her sister, two years younger, fond of frolic , 

INEZ GRAY, a young lady visitor, willing to share in the fun 

MRS. HALSTEAD, a widow, and stepmother of the Halstead girls 

HANNAH MARY BARNES, or "Sis," a maiden lady who keeps 
house for her brother 

DWIGHT BRADLEY, a fortune hunter and Mrs. Halstead's son 
hy a former marriage 

DR. BURTON, a young physician 

SAMMY, the darkey bell-boy in the Halstead house 

ABRAHAM BARNES, or "Bub," a yankee farmer, still unniar- 
Tled at fortv— a diamond in the rough 

ATTORNEY; SHERIFF 

Time of playing, two hours. 
Two interior scenes. Modern costumes. 

SYNOPSIS OF INCIDENTS 

Act. 1. Parlor of the Halstead home. The young doctor. The 
three 'girls plot to make his acquaintance. An affection of the heart. 
"Easy to fool a young doctor," but not so easy after all. The step- 
mother and her son. The stolen diamonds. The missing will. 
Plot to win Bernice. "I would not marry Dwight Bradley for all 
the wealth the world contains." Driven from home. 

Act 2. Kitchen of the Barnes' farm house. Bub takes off his 
boots. The new school ma'am. "Supper's ready." "This is our 
Tiephew and he's a doctor." Recognition. A difficult problem in. 
arithmetic. The doctor to the rescue. "I'm just the happiest girl 
In the world." "I've come to pop the question, an' why don't 1 
do it?" Brother and sister. "If it's a heifer, it's teh be mine." 
The sheriff. Arrested for stealing the diamonds. "Let me knock 
yer durned head off." The jewels found in Bernice's trunk. 

Act 3. Parlor of the Halstead home. "That was a lucky stroke 
— hiding those diamonds in her trunk." The schemer's plot miscar- 
ries. Abe and Sammy join hands. The lawyer. "Bully for her." 
Bradley tries to escape. "No, ye don't!" Arrested. "It means, 
dear, that you are to be persecuted no more." Wedding presents, 
and a war dance around them. "It is no trick at all to fool a 
young doctor." 

Address Orders to 

THE DRAMATIC PUBLISHING COMPANY 

CHICAGO, ILLINOIS 



Santiago 

OR 

For the Red, White and Blue 
A "War Drama in Fowir Acts 

By lOHN A. FRASER 
Price, 25 cents 

CHARACTERS 

Capt. Oscar Hutton, U. S. A. In love with Cora. .Leading Juvenile 

Lieut. Fisk, U. S. A. In love with his duty ..Juvenile bit 

Milton Merry, U. S. N. In love with Bess Light Comedy 

Lieut. Cristobal, S. A. In love with soldiering Straight 

Dr. Harrison, Red Cross H. S. In love with surgery 

Straight old man 

Elmer Walton, banker. In love with Spanish bonds 

Character old man 

Phillip Basset, his stepson. In love with Ysobel Juvenile 

Fernando Diaz, Walton's cashier, afterwards S. A. In love with 

Cora Heavy 

Beverly Brown, Walton's butler, afterwards Red Cross H. S. In 

love with chickens Negro Comedy 

Cornelius Dwyer, Walton's coachman, afterwards U. S. A. In 

love with "Naygurs" Irish Comedy 

Antonio Carlos, a Cuban planter. In love with Spain 

Character old man 

Cora Basset, Walton's stepdaughter. In love with Oscar. .Juvenile 

Bess Walton, Walton's daughter. In love with Milton Ingenue 

Ysobel Carlos, Antonio's daughter. In love with Phillip. ., .Juvenile 
American Soldiers, American Sailors, Spanish Soldiers, Guerillas, 
Actual time of playing, two hours. 

SYNOPSIS 

ACT L The ball at Walton's, Washington, D. C. Handsome In- 
terior. 

ACT II. The Red Cross Hospital. First day's battle of Santiago. 
Exterior. 

ACT III. Scene 1. — Interior Guerilla headquarters in the Sierra 
Cobra, near Santiago. Scene 2. — Exterior. The underbrush of Si' 
erra Cobra. Scene 3. — Fight in the mountain pass, second day's 
battle of Santiago. Exterior. 

ACT IV. Hotel Tacon, Santiago, on the night of the surrender. 
Interior. 

NOTE.— Walton, Dr. Harrison and Carlos may double easily, and 
the piece played with nine males, three females. 

The best Cuban war play ever written. Easy to produce, but 
very effective. Thrilling situations, fine comedy, intense climaxes. 
Comic Irishman and Negro. Three magnificent female jiarts. Pic- 
turesque Spanish villain and heroic juvenile lead. No special scen- 
ery is required, as every regular theatre, in its ordinary equip 
ment. has every set called for. Adapted to both professional ana 
amateur companies. 

Address Orders to 

THE DRAMATIC PUBLISHING COMPANY 

CHICAGO. ILLINOIS 



Dumont^s 
Minstrel Joke Book 



Price, 25 cents 



A Collection of jokes arranged for End-Men, both professional and 
amateur. Never before collected and published in a clear manner 
and with bright dialogue for End-Men and Interlocutor. They 
form a book of the newest, most humorous and quaintest matter 
ever arranged. Any reader may, with assured success, deliver them 
to any assemblages before whom he may appear. 

Mr. Dumont himself says: "This collection of jokes and dia- 
logues is the careful gathering of years — and only the best and 
•sure laugh' producers are incorporated in this book." 



PARTIAL CONTENTS 

Arithmetic of Love, "Ask a Policeman," All about Novels, At Nia- 
gara Falls, "A. P. A." and Bricks, Advantages of Education, All 
Sorts, Army and its Soldiers, Bad Case of Lying, Base Ball, Breach 
of Promise, Burglars, Boston's Correct Language, Bravery in Battle, 
Fishing, Funny Signs and Borrowed Pants, Fish makes Brains, 
Firing off the Cannon, Climatic Changes, Clancy as a Diver, 
"Couldn't find a Policeman." Colonel Pepper, "Curiosities for Mu- 
seums," Conundrums, Cruelty to Animals, Country and Don't Drink, 
Couldn't take the Job, Comic Recitations, Cork Leg. "Casablanca," 
"Dreams," Ducks and Indians, Dutchman's Bet, "Daniel," Eatirg 
Dumplings, Epitaphs. Editing a Newspaper, Eating by Weight, Ed- 
ucated Horse, The Mule Battery, "Making Both Ends Meet," The 
Mind Reader, Missed the Hearse, Mixf^d Breed of Chickens, Married 
into a me.^n Family, Makinga Pair of Shoes, Man's Ribs and Angel 
Cake, The New Poet, Never Happened, On the Battlefield, Off to the 
Seat of War. Our Brothers, Old Cider Barrel, Origin of Songs, 
Opinion on Man and Woman, Gratitude, Hotel Regulations, Hold 
your Head Up, How is Business, Plow Different Girls Kiss, Hash 
for the Navy, "Has not Caught Me Yet," Irish Monologue, It Runs 
in the Family, "If a River were between all Men and Women," 
Jumping Frog, Kissing, Kiss Sociable, Keep off the Grass, Kissing 
in the Tunnel, Lawyer and Doctor, Lost Umbrella, Liquor Assists 
Nature, Learning the Bike, Love and Matrimony, Law in Alaska, 
Shoemaker's Daughter, Singing at the Party, Storm at Sea, Spot- 
ted Dog, Swallowed an Egg, Second Time on Earth, Signs, Sorry 
he didn't Take it Cold. Progress, Parson's Sermon on Crap Shoot- 
ing, Poultry and Fruit, Power of Language. Perhaps I Will and 
Perhaps I Won't, Peculiarities of Speech, Pumpkin Pie, Patriotic 
Alphabet, Queer Advertisements. Ragged Jacket, Raising Grass- 
hoppers, Taught His Wife a Lesson, Thought it was a Boat-race, 
The Telephone, Thief with a Roman Nose. Taxes on Luxuries, 
Transfusion of Blood, Took the Dead Mans' Dollar, Two Good Liars, 
Three Realistic Dreams, Takes It just the same, "Twinkle, Twinkle 
Little Star," Very Good Tip, Very Large Punch Bowl, Very Mean 
Father, "We are Letters," "Went Home for his Pipe," "Why is a 
Ship called "She?" "What is Love?" "We are all Bottles," "Wish 
the Gun had gone ofE," Writing a Novel. 

Address Orders to 

THE DRAMATIC PUBLISHING COMPANY 

CHICAGO, ILLINOIS 



Joe Ruggles 

OR 

THE GIRL MINER 

A Comedy Drama in Fouf Acts 

By FRANK J. DEAN 

Pricct 25 cents 

Nine male, three female characters. A vigorous, stirring play, 
depicting- peculiar types of life in a large city and in the mining 
districts of the West. The parts of Joe Ruggles, the miner, Hanp 
Von Bush (Dutch dialect), and Richard Hamilton, the scheming 
villain, all afford opportunity for clever work; while the part of 
Madge (soubrette), who afterwards assumes the character of Mark 
J.ynch, is an excellent one for a bright young actress. 

Scenery — City street, showing R. R. Station; rocky pass, with 
eet cabins; a wood scene, ard two plain interiors. Costumes of the 
day. Time of playing, two and a half hours. 

SYNOPSIS OF EVENTS 

ACT I En" ranee to Railroad Station 

Looking for a victi.Ti — Joe Ruggles — "Them galoots is worse than 
g-iizziies" — "Morning papers" — Madge and Bess plying their trades — 
"Can't you sing Joe a song?" — Hamilton and his pal confer — Tom 
Howarth gains inportant information — "Don't you dare to lay 
hands on us!" — Hamilton tries to maintain his authority — "Who? 
Old Joe!" 

ACT II — Dootnsday^s Hotel, Dare-devil's Gu!ch, California 

The landlord secures a guest — Hans disappointed — "Dot is a mis- 
dake" — A ghost story — The "Kid and his sister" — "Did I hurt your 
highness?" — Hans and Doomsday have another talk — Kate Laurel 
meets the young miner — "Yah, dot vas vot I t'inks" — Madge's dis- 
guise penetrated — She recognizes an old enemy — "Now. George 
Smith, take your choice" — Joe Ruggles as a tramp — "Ef yer think 
yer can pick on me because I'm han'some ye'll find me ter hunri" — 
Hamilton appears — "Those two youngsters are mine" — The tramp 
takes a hand. 

ACT III -Wood Scene 

A lively ghost— Hamilton and Smith plan more villainy— Old Joe 
thinks of turning Detective— Kate Laurel again — "There is a secret 
connected with my life" — Kate's confession — "What do you mean, 
yir?" — Tom Howarth once more — "Vos you looking for a hotel?" — 
Planning an abduciion — Old Joe as an Irishman — "Phat does yez 
want wid me?" — Undertakes to be a detective — Takes a hand in 
the abduction — "Do it at your peril." 

ACT IV 

Hans hears, and tells, the latest news— "I nefer pelieved dot 
spook peesness" — Kate Laurel astonished — Hamilton attempts 
flight — "De poys haf got Mr. Hamilton, und dey vill gif him a 
necktie bartv" — Arrest of Smith — "Get out mit my vay, I vas de 
United States Mail"— Tom meets his old friend under new circum- 
stances — "Do you want me, Tom?"— Old Joe gives consent— A 
happy ending. 

Address Orders to 
THE DRAMATIC PUBLISHING COMPANY 

CHICAGO. ILLINOIS 



The Outcast^s Daughter t ?r Lts 

By MARION EDDY PRICE, 25 CENTS 

Ten male, five female and one child characters. Plays two and 
one-half hours. Modern costumes. Three interior, one exterior 
scenes, all easily arranged where there is any scenery at hand. No 
stronger melodrama has been given the play-loving public. Full of 
the strongest appealing heart interest, intense, pathetic, real life, 
where joy and laughter are mingled with pathos and suffering, but 
all ending happily. A melodrama without a villain or the use of 
firearms. Amateurs may play it successfully, it plays itself, and 
it is adapted to strong repertoire companies. 

CAST OF CHARACTERS 

Carl Faber An ex-convict 

Howard Ross A manufacturer 

Dennis Hoejan Servant to Ross 

Abel Gardener to Ross 

Judge Havens Of the police court 

Recorder Of the police court 

Lettner Clerk of police court 

Second Court Clerk Clerk of police court 

Two policemen 

Little Hugo Agatha's child 

Agatha Steme Ross' bookkeeper 

Ida Rheinhold A retired singer 

Mrs. Wilmuth A washerwoman 

Xatie Factory girl 

Frances Factory girl 

SYNOPSIS OF SCENES 

Act 1. Ross' private office. "What has given me the honor of 
this visit?" "I will never sing again. My life has been a sad 
failure." "Good God! My mother!" "I have done wrong, I confess, 
but when a mother asks, a child must forgive. Oh, Mr. Ross, help 
me." "You, my rich and famous mother, to you I was nothing, 
and you — vou are nothing — nothing to me." "Agatha! Agatha! 
My child! My child!" 

Act 2. Agatha's attic. "My poor father. So young and strong. 
How I could have loved him." "Yes, Katie is right, I have nothing 
but bread for my sweet child." "Madam, I vould lie if I say she 
vas anything but a lady." "On the other side, towards the garden, 
there are a few rooms I have never used. If you will take 
them " "You do not look like a man who could commit mur- 
der. How was it?" "I was a weak man and many misfortunes 
made me desperate." "My picture! I must be mad." "You are 
good, child, but you shall not call me father." "Father! Father!" 

Act 3. Ross' Garden. "He is so good to me, but I cannot forget 
my poor unhappy father." "The picture was taken when I was 
young. He shall have it." "Stay here and be my wife." "That 
suspicious old man is in the garden." "For her I sacrificed every- 
thing." "Do you want to go to prison again?" "My father needs 
me to defend and comfort him." 

Act 4. A Police Court. "Do not ask me, your honor — I am an 
<^x-convict." "Your silence will not help you.'" "It vas dark und 
Mrs. Steme vas that scared she vas faint." "I hope, sor, yer honor 
believes in a future life, sor." "He wished to see his child; I am 
his child." "Grandfather, we love you." "I am his wife. Do not 
condenm him." 

Address Orders to 

THE DRAMATIC PUBLISHING COMPANY 
CHICAGO. IUIMOI3 



Tompldn^s Hired Man t ?""/ Acts 

By EFFIE W. MERRIMAN PRICE, 25 CENTS 

This is a strong play. No finer character than Dixoy, the hired 
man, has ever been created in American dramatic literature. He 
compels alternate laughter and tears, and possesses such quaint 
ways and so much of the milk of human kindness, as to make him 
a favorite with all audiences. The other male characters make 
good contrasts: Tompkins, the prosperous, straightforward farmer; 
Jerry, the country bumpkin, and Hemington, the manly young 
American. Mrs. Tompkins is a strong old woman part; Julia the 
spoiled daughter; Louise, the leading juvenile, and Ruth, the romp- 
ing soubrette, are all worthy of the best talent. This is a fine play 
of American life; the scene of the three acts being laid in the 
kitchen of Tompkin's farm house. The settings are quite elaborate, 
but easy to manage, as there is no change of scene. We strongly 
recommend '"Tompkin's Hired Man" as a sure success. 

CHARACTERS 
Asa Tompkins — A prosperous farmer who cannot tolerate deceit. 
Dixey — The hired man, and one -of nature's noblemen. 
John Remington — A manly young man in love with Louise. 
Jerry — A half-grown, awkward country lad. 
Mrs. Tompkins — A woman with a secret that embitters her. 
Julia — A spoiled child, the only daughter born to Mr. and Mrs. 

Tompkins. 
Louise— The daughter whom Mr. Tompkins believes to be his own. 
Ruth — Mr. Tompkin's niece^ and a great romp. 
Plays about tv/o hours. 
SYNOPSIS 

Act 1. Sewing carpet rags. "John and I are engaged." ""Well, 
you can disengage yourself, for you'll never be married." "Mrs. 
Clark, she's took worse." Who makes the cake? Julia declines to 
sew carpet rags. "It would ruin m,y hands for the piano or my 
painting." Dixey to the rescue. "You take the rags a minute, 
child, and I'll just give that fire a boost." Dixey's story. "It 
breaks his heart, but he gives her away, an' he premises never tch 
let her know as how he's her father." Enter Jerry. "Howdy." 
John gets a situation in the city. Farewell. "It's a dandy scheme, 
all the same. We'll have our party in spite of Aunt Sarah." "Oh, 
I'm so happy." The quartette. Curtain. 

Act 2. Chopping mince meat. The letter. Louise faints. "How 
dare you read a paper that does not concern you?" "You have 
robbed me of my father's love." The mother's story. Dinner. "I 
swan. I guess I set this table v.'ith a pitchfork." "Now, Lambkin, 
tell Dixey all 'bout it, can't yer?" "It looks zif they'd got teh be a 
change here purty darned quick, an' zif I'm the feller 'lected teh 
bring it 'bout." "None o' my biznoss, I know, but — I am her 
father:" "It's love the leetle one wants, not money." "If I'd been 
a man. I'd never given mv leetle gal away." "I'm dead sot on them 
two prop'sitions." Curtain. 

Act 3. Dixey builds the fire. "Things hain't so dangerous when 
everybodys' got his stummick full." The telegram. "It means that 
Louise is my promised wife." "By what right do you insinuate that 
there has been treachery under this roof?" "A miserable, dirty, 
little waif, picked up on the streets, and palmed off upon my father 
as his child!" "Oh, my wife, your attitude tells a story that breaks 
my heart." "Yeh druve her' to do what she did, an' yeh haint got 
no right teh blame her now." "Friend Tompkins, a third man ha.s 
taken our leetle gal an' we've both got teh larn teh git along without 
her. We kin all be happy in snito o' them two sentimental kids.'' 
Curtain. Address Orders to 

THE DRAMATIC PUBLISHING COMPANY 

CHICAGO. ILLINOIS 



Uncle Rube 

An Otiginal Homestead Play in Font Acts 

By CHARLES T0^37NSEND 

The Finest Rural Drama Ever Published 



Price, 25 cents 



CHARACTERS 

RUBEN RODNEY (Uncle Rube), Justice of the Peace, School 

Trustee, and a master hand at "swappin' hosses" Character lead 

SIMON SMARLEY, a smooth and cunning old villain 

Character heavy 

MARK, his son, a promising young rascal Straight heavy 

GORDON GRAY, a popular young artist Juvenile lead 

UPSON ASTERBILT, an up-to-date New York dude 

Character comedy 

IKE, the hired man. "I want ter know:" Eccentric 

BUB GREEN, a comical young rustic Low comedy 

BILL TAPPAN, a country constable Comedy 

MILLICENT LEE. "the pretty school teacher" Juvenile lady 

MRS. MARTHA BUNN, a. charming widow Character comedy 

TAGGS, a waif from New York Soubrette 

Time— Mid Autumn. Place — Vermont. 

Time of playing— Two hours and a quarter. 

SYNOPSIS 

ACT L The Old Homestead. Uncle Rube arrives. 
ACT II. The Constable's oflice. The plot to ruin Uncle Rube. 
ACT III. Evening at the old farm. LTncle Rube is arrested, 
ACT IV. The Constable's office again. The old farmer wins! 

This play was v/ritten by one of the most popular of American 
dramatists, whose works have sold by the hundreds of thousands. 
One of the best plays of its class ever written. Splendid characters. 
Powerful climaxes. Bright wit. Merry humor. Very easy to pro- 
duce. Requires only three scenes. No shifts of scenery during any 
act. Costumes all modern. No difficult properties required. 

THE AUTHOR^S OPINIONJ 

MR. TOWNSEND says of this drama: "I consider that 'Uncle 
Rube' is far superior to any play depicting country life that I have 
yet written." 



This is the play for everj^body — ^amateurs as well as professionals. 
It can be produced on any stage, and pleases all classes, from the 
most critical city audiences to those of the smallest country towns. 
Printed directly from the author's acting copy, with all the original 
stage directions. 

Address Orders to 
THE DRAMATIC PUBLISHING COMPANY 

ailCAGO. ILLINOIS 



Hageman's Make-Up Book 

By MAURICE HAGEMAN 

Price, 25 cents 

The importance of an effective make-up is becoming- more appar* 
ent to the professional actor every year, but hitlierto there has been 
no book on the subject describing the modern methods and at the 
same time covering- all branches of the art. This want has novr 
been filled. Mr. Hageman has had an experience of twenty years 
as actor and stage-manager, and his well-kiiown literary ability has 
enabled him to put the knowledge so gained into shape to be of 
use to others. The book is an encyclopedia of the art of making up. 
Every branch of the subject is exhaustively treated, and few ques- 
tions can be asked by professional or amateur that cannot be an- 
swered by this admirable hand-book. It is not only the best make- 
up book ever published, but it is not likelj' to be superseded ky 
any other. It is absolutely indispensable to every ambitious actor. 

CONTENTS 

Chapter I. General Remarks. 

Chapter II. Grease-Paints, their origin, components and use. 

Chapter III. The IVIake-up Box. Grease-Paints. Mirrors, Face 
Powder and Puff, Exora Cream, Rouge. Liquid Color, Grenadine, 
Blue for the. Eyelids, Brilliantine for the Hair, Nose Putty, Wig 
Paste, Mascaro. Crape Hair, Spirit Gum, Scissors, Artists' Stomps, 
Coid Cream, Cocoa Butter, Recipes for Cold Cream. 

Chapter IV. Preliminaries before IVIaking up; the Straight iVlake* 
up and how to remove it. 

Chapter V. Remarks to Ladies. Liquid Creams, Rouge, Lips, 
Eyebrows, Eyelashes, Character Roles, Jewelry, Removing Make-up. 

Chapter VI. Juveniles. Straight Juvenile Make-up, Society 
Men, Young Men in 111 Health, with Red Wigs, Rococo Make-up, 
Hands, Wrists, Cheeks, etc. 

Chapter VII. Adults, Middle Aged and Old Men. Ordinary Type 
of Manhood, Lining Colors, Wrinkles, Rouge, Sickly and Healthy 
Old Age, Ruddy Complexions. 

Chapter VIII. Comedy and Character Make-ups. Comedy Ef- 
fects, Wigs. Beards, Eyebrows. Noses, Lips, Pallor of Death. 

Chapter IX. The Human Features. The Mouth and Lips, the 
Eyes and Eyelids, the Nose, the Cliin. the Ear, the Teeth. 

Chapter X. Other Exposed Parts of the Human Anatomy. 

Chapter XI. Wigs, Bearas, Moustaches, and Eyebrows. Choosing 
a Wig, Powdering the Hair, Dimensions for Wigs, AVig Bands, Bald 
Wigs. Ladies' Wigs, Beavds on V*^ire. on Gauze, Crape Hair, Wool, 
Beards for Tramps, Moustaches, Eyebrows. 

Chapter XII. Distinctive and Traditional Characteristics. North 
American Indians, New England Farmers, Hoosiers. Southerners, 
Politicians, Cowboys, Minors, Quakers, Tramps, Creoles, Mulattoes, 
Quadroons, Octoroons. Negroes. Soldiers during War, Soldiers dur- 
ing Peace, Scouts, Pathfinders, Puritans. PJarly Dutch Settlers, 
Englishm.en, Scotchmen, Irishmen, Frenchmen, Italians, Spaniards, 
Portuguese, South Americans, Scandinavians, Germans, Hollanders. 
Hungarians. Gipsies. Russians, Turks, Arabs, Moors. Caffirs, Abya- 
sinians, Hindoos, Malays, Chinese, Japanese, Clowns and Statuary, 
Hebrews, Drunkards, Lunatics, Idiots, Misers, Rogues. 

Address Orders to 
THE DRAMATIC PUBLISHING COMPANY 

CHICAGO. ILLINOIS 




PLAYS 

And Entertainment Books. 

^HJEING the largest theatrical booksellers in 
^^ the United States, we keep in stock the most 
complete and best assorted lines of plays and en- 
tertainment books to be found anywhere. 

We can supply any play or book pub- 
lished. We have issued a catalogue of the best 
plays and entertainment books published in 
America and England. It contains a full 
description of each play, giving number of char- 
acters, time of playing, scenery, costumes, etc. 
This catalogue will be sent free on application. 

The plays described are suitable for ama- 
teurs and professionals, and nearly all of them 
may be played free of royalty. Persons inter- 
ested in dramatic books should examine our cat- 
alogue before ordering elsewhere. 

We also carry a full line of grease paints, 
face powders, hair goods, and other "make-up" 
materials. 

The Dramatic Publishing Company 
CHICAGO 



